2 AEGIS le Libellio d (Suite de la page 1) thought she would do so. Around 70 other people, however, do fill it in and give it back to me. Later the results are assembled, analysed and published in my book, Audit (Kimbell, 2002). Scene I m sitting in the studio of London-based designers live/work, who are one of a small number of specialist consultancies involved in designing services, not products or logos or buildings. I watch as the three designers assemble a representation of what they call the customer journey on the wall. They create this in order to bring together what they learned from themselves trialling the service we are studying. This service helps people trying to give up smoking using genetic testing to identify the right level of nicotine replacement therapy, along with face-to-face encounters in a pharmacy and online resources to support the person while they give up. The designers create the representation using print-outs of photographs they took when they visited the pharmacy, print-outs from the website, and sticky notes with their annotations. As they assemble and then critique this customer journey, the designers scale up and down from the detail of one of the service touchpoints such as the poster in the pharmacy window, to the value behind the service itself. They seem to be having fun while they do this. Scene I sit at a breakfast meeting organised by PR agency Editorial Intelligence in London, a group of cultural leaders speculate about the future of the cultural sector under the next (presumably Conservative) government. One of the speakers is the person who is likely to be the culture minister in that government, if his party wins, Ed Vaizey MP. Much of the discussion is concerned with how the Labour government has used the arts as an agent of economic policy over the previous 12 years in an attempt to increase social inclusion. In contrast, says the Conservative MP, his party thinks the arts have an intrinsic value. Another speaker is the artistic director of the Institute of Contemporary Arts, writer Ekow Eshun, who says arts organisations and artistic practices are important because they undertake R&D, helping us understand who we are and how we live. I begin with these three scenes to surface particular moments in my own life as an undisciplined artist who is also a designer who has been an entrepreneur and who is also a researcher, currently masquerading as a social scientist in a management school, where among other things, I teach design and design management on the MBA. This short essay gives me an opportunity to trace my own journey between them and through doing so, raise some questions about the value of art and design practices in relation to organizational life. During my audit, one of the sections in my questionnaire asked respondents what they would pay me, and for what kind of activities. For one respondent, the answer was an amusing and provocative You wouldn t do it and I wouldn t ask. Another wanted to pay me pints of beer for emotional advice, and so on. Several thought my value was constituted in my consulting work rather than my art practice, reflecting perhaps with some justification the market value manifested in the daily rate I charge as a design and innovation consultant (reasonably high), in comparison with my income from art projects (unreasonably negative). To my mind, the practices involved were not so different, the starting point often being a question that began What happens if I do this?, driven by curiosity about a particular set of organisational or institutional circumstances that I wanted to enquire into. But the Page 2

3 Volume 5, numéro 4 data I created told me that there was a difference between my art and the design practices, at least as far as they were understood by respondents whom I had enrolled within this enquiry, many of whom knew me through making art and doing design. In what follows, I explore issues connected with this finding from my audit into my own value against a background of recent interest in design within management and organization studies. I then propose ways to understand the value of art and design practices in relation to organisational and institutional contexts as a kind of cultural R&D. It is 40 years since Simon (1969) published The Sciences of the Artificial. In it, he argued for an understanding of management and other professions as a kind of design activity in his oft-quoted claim: Everyone designs who devises courses of action aimed at changing existing situations into preferred ones (Simon, 1996, p. 111). Simon s view of design was as a search procedure for solving problems. His work has been important in engineering design, but within other design fields in the art-school tradition, Simon s top-down, rationalistic version of design has been something to struggle against, even if his definition is often a starting point for definitions of design (eg Buchanan, 1992). Further, while it argued for the importance of design, Simon s account was not able to offer a convincing account of how design activities generate new concepts (Hatchuel, 2001; Hatchuel & Weil, 2009). Nor did it correspond well how many designers went about doing design in practice. Design and its relation to innovation have become important topics for some management and organisation scholars, who have been revisiting Simon over the past decade. Shaped by their experience of working with architect Frank Gehry during the design of a new building for their business school, Boland and Collopy (2004) gathered researchers and practitioners from fields as diverse as organization studies, composition and software design to try to assess what design might offer management. Distinguishing between what they call a design attitude and a decision attitude, Boland and Collopy describe the latter as the basis of management practice and education, in which the challenge facing managers is conceived of as choosing between alternative options, instead of the former, which is more suitable when trying to create new ones. For Boland and Collopy, managers need to combine both. More recently, the term design thinking has emerged as the way that several people are exploring what design approaches bring to management and innovation, with three new books recently being published. One, by Roger Martin (2009), dean of the Rotman School of Management, argues that managers should be more like designers to achieve competitive advantage. A second, by Tim Brown (2009) of international design consultancy IDEO, provides accounts that describe both the consultancy s approach and those of other organisations in which innovations have been developed through a collaborative human-centred, iterative process, involving visualisation and prototyping. A third, by Tom Lockwood (2009), president of the Design Management Institute, is an anthology of accounts of the way design has impacted (positively) on organisations seeking to innovate in through building strong brands and the design of services and customer experiences. What these books share is a conviction that the ways professional designers, educated in the art school tradition, go about doing things offer an important resource to organisations wanting to innovate. Whether design thinking, or some (Suite page 4) Page 3

4 AEGIS le Libellio d (Suite de la page 3) Manager t-shirt worn by manager at the Little Chef restaurant at Popham services, England, redesigned by Ab Rogers Design, in a project which involved interior design, branding, communications and uniforms Photo credit: Lucy Kimbell 2009 other term, is the right way to describe what goes on within design activities undertaken by professional designers, their clients and collaborators, end users and other stakeholders, and the artefacts, institutions and processes involved, what is becoming clearer is that design practices are an important resource for organisations, and that they are not well understood. Designers may talk about professions and disciplines, but in comparison to other fields such as engineering, medicine or law, their institutions are weak and the value of what they do remains unclear (Tether, 2009). What designers do has changed over the past four decades as practitioners have extended their remit away from the design of tangible objects such as consumer goods, buildings and album covers to digital communications, brands, interactions and more recently, the design of services. In 2001 a Google search for service design returned no results (Downs 2008). There now exists a small and ambitious community of service design professionals mostly working in consultancies, who together with an even smaller number of academics, are concerned with organising and institutionalising their growing field (Service Design Network, 2009). They see their expertise as bringing design approaches, methods and tools to service organisations wanting to improve them or innovate. Drawing on, and in some cases discovering for themselves, research findings from service marketing and service operations, these designers bring a holistic approach to designing services that draws on adjacent fields such as interaction design (eg Moggridge, 2006) and experience design (eg Bate & Robert, 2007) that is based in the embodied, aesthetic and playful practices taught in many design and art schools. Like other kinds of contemporary design practitioner, they attend to the imagined or researched experiences of end-users and other stakeholders as a starting point for design. Like the architects studied by Yaneva (2005), service designers practices involve scaling up and down, attending to the detail of the design of touchpoints (the artefacts and human interactions that make up service encounters) as well as to the orchestration and arrangement of the service as a whole. By attending to the material arrangements of a service such as posters, websites, retail outlets and packaging (Kimbell, 2009; 2008) they foreground the tangibility of services, in contrast to the dominant view of their intangibility. By creating boundary objects (Star & Greisemer, 1989) such as representations of the customer journey, sketches and prototypes that visualise a service and the experience it offers end-users, the designers help multi-functional organisational teams engage with one another and work together from an emic perspective. Thus far I have focussed on attempts made to understand and explain the value of design-based approaches in organizational life, with a brief description of a new kind of practitioner who brings this to the design of services. But earlier I made the claim that for me, at least, there was not a great distinction between art and design practices although they are institutionally validated, regulated and accounted for in different ways. I see both as a process of enquiry into what matters, concerned with Page 4

5 Volume 5, numéro 4 the disassembly and assembly of socio-material arrangements of things and people over time and space, involving paying particular attention to the visual and the performative, underpinned by a willingness to engage in institutional critique. What these practices do is undertake cultural R&D by creating and arranging artefacts into new kinds of assemblage and new sets of relations enrolling others in these networks attending to the aesthetics of arranging and organising opening up enquiries that sometimes do not have a goal other than asking a question such as What happens if I do this? challenging practitioners and those they work with to tolerate and embrace uncertainty and ambiguity about purpose, process and outcome. These practices are a resource for organizations, and for research into organizations, in at least two ways. Firstly, art and design practices are a resource when they undertake research for organizations. Designers do research of different kinds during the design process, for example seeking to construct interpretations about the needs, values and practices of end-users and in some cases involve them in co-design. This approach echoes research in management and organization studies (Verganti, 2009; Ravasi & Rindova, 2008), which sees innovative organisations as those involved in creating proposals to a network of interpreters that includes designer and artists in forging new meanings for products and services and creating symbolic value. For Verganti (2009), for example, undertaking R&D about meaning is an important resource for organisations seeking to innovate and what he calls design-driven innovation is a way to organise it. Where I would depart from Verganti is his emphasis on creating new meanings for products and services. Instead, I see art and design practices as involved in assembling new sets of relations and new kinds of public. Whether conceived of as relational aesthetics (eg Bourriaud, 2002), or as creating new kinds of public (eg Latour & Weibel, 2005), the emphasis in these practices is on creating relations, not objects, although artefacts may play an important role in assembling them. Secondly, these practices do research about organizations, although not necessarily in ways they want or understand. The second approach is one that is less understood outside of the worlds of contemporary art and design, and is not necessarily easily digested by organisations or researchers. Contemporary artists working in several traditions including visual art, performance and activism explore organising by doing their own version of it, sometimes directly investigating business and management, sometimes more informal arrangements. For example work by Orgacom 1 (Netherlands), Anna Best 2 (UK), Carey Young 3 (UK), The Yes Men 4 (US) sets up enquiries into current institutional arrangements by assembling new sets of relations, often around key artefacts, although the value of the art is not reducible to a determinate object. Work by some designers such as Dunne and Raby 5 can also be viewed as undertaking research into what matters in science and technology and how these shape social and organizational arrangements. Both ways of thinking about art and design practices, as research for or about organizations and organizing, raise questions for those who aim to maintain art for art s sake and want to avoid polluting the arts with the concerns of organizations. But for those who are willing to acknowledge how implicated we all are in organizing and organizations, whether formally constituted and institutionalised or not, these practices in art and design offer a valuable and as yet unexplored resource. (Suite page 6) com/ co.uk/ Page 5

6 AEGIS le Libellio d (Suite de la page 5) Contemporary art and design practices are a kind of R&D which enquires into who we are, what matters and how we organize and are organized. Scene I watch the students as they start an exercise during the first term of a new postgraduate course which combines art and design approaches with the social sciences and management. We have set them a brief to investigate the experience of a health service provider by focussing on what end-users hear by creating field recordings of audio in health service organisations. Then we want them to present to us a timebased representation of that experience, which could take the form of a recorded or live performance, or a poem, for example. The students, who come from many different backgrounds including public services, social entrepreneurship and engineering, are learning what constitutes a brief in the design school tradition and how to respond to one. Some of them are struggling. We have said that there is no right answer, and no single way to respond to the brief presenting a poem is not necessarily better than a piece of music, and vice versa. Some of the students really need pushing out of the seminar room to go and start the exercise. Some want to record video as well, but we insist on just audio. Later, the students come back and present their findings to one another in a group critique, some in the form of live performance, some as video clips with only a soundtrack playing. The students are fascinated how diverse their data and interpretations are, and how powerfully the audio communicates something about the experience of end users, the organisation and the service. They are ready now to begin thinking about what they attend to, and what they ignore, in the ways they think about organisations and organising. References Bate Paul & Robert Glenn (2007) Bringing user experience to healthcare improvement: The concepts, methods and practices of experience based design, Oxford, Radcliffe. Boland Richard J. & Collopy Fred (2004) Design matters for management, In Richard J. Boland, and Fred Collopy (Eds.), Managing as designing, Stanford, CA, Stanford University Press, pp Bourriaud Nicholas (2002) Relational aesthetics, Dijon, Les Presses Du Réel. Buchanan Richard (1992) Wicked problems in design thinking, Design Issues, 8(2), pp Downs Chris (2008) Unpublished presentation at Saïd Business School, University of Oxford. Brown Tim (2009) Change by design: How design thinking creates new alternatives for business and society: How design thinking can transform organizations and inspire innovation. Harper Business. Hatchuel Armand (2001) Towards design theory and expandable rationality: The unfinished programme of Herbert Simon, Journal of Management and Governance, 5 (3-4), pp Hatchuel Armand & Weil Benoît (2009) C-K design theory: An advanced formulation, Research in Engineering Design, 19, pp Kimbell Lucy (2002) Audit, London, Bookworks. Kimbell Lucy (2008) What do service designers do? Video. 7:16 minutes, Kimbell Lucy (2009) The turn to service design, In Julier Guy & Moor Liz (eds), Design and Creativity: Policy, Management and Practice, Oxford, Berg. Page 6

13 Volume 5, numéro 4 Stake Robert E. (1994) Case studies In Norman K.Denzin, Yvonna S. Lincoln (Eds.), Handbook of Qualitative Research, Sage, Thousand Oaks, pp Strauss Anselm Corbin Juliette (1994) Grounded Theory Methodology: an Overview, In Norman K. Denzin, Yvonna S. Lincoln (Eds.), Handbook of Qualitative Research, Sage, Thousand Oaks, pp Weick Karl E. (1993) The collapse of sensemaking in organizations: the Mann Gulch disaster, Administrative Science Quarterly, 38(4), pp Yin Robert K. (2003) Case Study Research: Design and Methods (3 rd edition ed.), Thousand Oaks, CA, Sage Notes prises par Corentin Curchod Audencia Revues par Gérard Kœnig Henri Fayol the man who designed modern management f you ask a random number of Swedes to name an influential Frenchman I some will probably mention Réné Descartes not because they know much about his philosophy, but because it is well known that he died from a cold at the Stockholm Royal Castle, while teaching the queen Kristina. Others may mention Jean-Paul Sartre not because they are necessarily familiar with existentialism, but because they have heard about Sartre s problematic relationship to Simone de Beauvoir (and have seen a recent documentary about this couple). Very few, if any, will mention Henri Fayol. (Some may venture that, perhaps, he was one of the famous French impressionists?) This seems both upsetting and unfair, because Fayol s management recommendations define management. And management, as you know, is generally assumed to be imperative to organizational success (and perhaps to individual success as well). Fayol s management recommendations provide the basis for an MBA-education, not only in Sweden, but worldwide. They provide a living for hundreds of thousands of people: authors, students, teachers, and university staff, not to mention managers. Who was Henri Fayol, which kind of management did he recommend, why should his influence be appreciated (rather than that of Frederick Taylor), and why is it not recognized? These are the questions for the following paragraphs. Who was Henri Fayol? Born in 1841, Henri Fayol was the youngest of his class at the National School of Mines at St. Étienne (École des Mines de Saint-Étienne), from which he graduated at (Suite page 14) Voir «Où repose René Descartes? L enquête», Le Libellio d'aegis, volume 4, n 3, hiver , pp NDLR. Page 13

14 AEGIS le Libellio d (Suite de la page 13) the age of 19. Fayol was appointed engineer at the Commentry group of coalmines of the Commentry-Fourchabault Company, where he remained all of his working life. After twelve years, he was appointed head of a group of coalmines, and sixteen years later he became Management Director (Directeur Général) of the company. The company was then close to bankruptcy. But when Fayol left this position (77 years old) it was flourishing, and Fayol left behind a staff of well-educated and skilled people, to whom he might safely leave the management of the company (Göransson, 1950, p. 6). Fayol remained on the board of the Commentry- Fourchabault Company until his death in One may see this career as singularly unidirectional, but in fact Fayol pursued at least four careers, and in each of them he was pre-eminent (Urwick, 1949, p. ix): Fayol achieved national distinction for his work in mining engineering. He pursued advanced geological research and proposed a new theory of the formation of coal-bearing strata. As a business leader, rather than engineer, Fayol applied a similar scientific approach to the management problems he encountered. Fayol was also successful financially, as he made a company on the verge of bankruptcy economically sound. And, most important for the present argument, Fayol took a keen interest in developing management principles. He founded the Centre of Administrative Studies, which held weekly meetings attended by representatives of a variety of professions. He made the Government pay attention to management and in 1924 addressed the International Federation of Universities at Geneva on the importance of a management doctrine as a means to promote peace. At the end of his career, when he was 75 years old, Fayol published his own management recommendations. Administration industrielle et générale (1916), was not made available to the US public until some thirty years later, and then it was seen to be important first of all to Europeans: As a philosopher of administration and as a statesman he [Fayol] left a mark on the thinking of his own and of many other European countries, not less than the mark left by Frederick Winslow Taylor in the U.S.A. (Urwick, 1949, p. ix). Sixty years later Fayol s management recommendations seem as pertinent as ever, and particularly in the USA. Which kind of management did Fayol recommend? Fayol s perspective was clearly that of the organization. He concentrated on business organizations and drew on his experience from the mining and metallurgic industry. Fayol believed, however, that organizations share a number of properties irrespective of whether they belong to the private or public sectors, and irrespective of their size. Fayol saw an organization as a social organism with management as its nervous system: Being present and active in every organ, it [the managerial function] normally has no specialized member and is not apparent to the superficial observer, but everywhere it receives impressions which it transmits first to the lower centers (reflexes) and thence, if need be, to the brain or organ of direction (1916/1949, p. 59). Page 14

15 Volume 5, numéro 4 Présent et actif dans tous les organes, il n a généralement pas de membre spécial et n est point visible à l observateur superficiel. Il recueille, en tous points, des sensations qu il transmet d abord à des centres inférieurs, centres réflexes, puis, de là, s il y a lieu, à la tête, à la direction. (1916/1999, p. 70). In Fayol s view a family is an organization, which should be managed by the same principles as a large corporation, or the French Government (and Fayol was quite critical of ministers short periods of office, which made them irresponsible and negligent of the welfare of the nation, he believed). All organizations need management, Fayol argued, but to a degree, depending on the size of the organization. Further, the position of a particular employee determines the extent to which he is engaged in management. The larger an organization, the more important its management, and the higher up in the hierarchy an employee, the more crucial his managerial competence. Fayol conjectured that for a large enterprise, and in a technical function, the relative importance of a manager s technical competence is 15, as compared with 40 for his managerial competence. For a minister the corresponding management number is 50, and for the head of state 60. Fayol subdivided management into five kinds of managerial activities: planning, organizing, coordinating, controlling, and (after some discussion) commanding (prévoyance, organisation, coordination, contrôle, commandement). Because Fayol concentrated on large organizations he expected managers to be distant from the employees who did the work. This explains why managers need elaborate planning procedures short-term as well as long-term procedures and an independent control function. Obviously, managers at a distance do not have as many opportunities to see for themselves what ought to be done and what has been accomplished as those who are directly involved in monitoring the work. Instead, managers at a distance must rely on reports. They need plans to avoid unconnected, non-logical activities and unwarranted changes of direction, and inspectors to provide impartial information about the efficiency of the work. Overall, their job is to create order out of something that might otherwise (one may expect) prove insurmountably chaotic. Fayol expected the activities that managers are to perform to be sufficiently similar to justify general management principles. The problem was, however, that such principles were not available. There was an abundance of private principles (les doctrines personnelles), but those might misdirect behavior and even lead to inefficient and contradictory behavior. It would not be difficult, Fayol believed, to find empirically based management principles, if only some influential managers would take the trouble to reflect upon and document their managerial experience. Unfortunately many left their offices without leaving behind any documents that described what they had accomplished and by which means, or somebody to continue their work (sans laisser ni doctrine, ni disciples). But Fayol was optimistic and saw his own work as a first step towards a general discussion on management, to be followed, hopefully, by a management theory. Fayol s apprehension that all organizations need management and the same type of management means that management becomes a specialty in its own right. Managers become organizational or management experts, and all kinds of organizations might ask for their expertise. When managers are seen as a coherent group of professionals it makes sense to recognize the usefulness of a general management education, and Fayol insisted that there was an urgent need of such education. In Fayol s view, the technical schools neglected the fact that management would dominate the professional lives of their (Suite page 16) Page 15

16 AEGIS le Libellio d (Suite de la page 15) students. They focused on technical competence, and did not include management in their curricula. In particular, Fayol criticized what he saw as an undue emphasis on mathematics: It is not sufficiently well known that the simple rule of three has always been enough for business men as it has for military leaders, and it is a false move to sacrifice four of five years general education in favour of an excess of mathematics (1916/1949, p. 82). On ne sait pas assez que la règle de trois simple a toujours suffi aux hommes d affaires comme aux chefs d armées. On fait un bien mauvais calcul en sacrifiant pendant quatre ou cinq ans la culture générale nécessaire à un excès de mathématiques (1916/1999, p. 92). In an argument with Professor Haton de la Goupillière, who saw mathematics as a powerful instrument for training the mind (de formation pour l esprit), Fayol countered that excessive application of any science might be detrimental to the physical and mental health even of the most balanced people and mathematics is no exception to this rule (l étude des mathématiques ne fait pas exception à la règle). Fayol referred to Auguste Comte, who observed that mathematical facts are barren and remote from reality, whereas social facts are complex and subtle. He concluded that judgment did not depend on the command of mathematics; should this be the case a number of highly esteemed professionals, such as lawyers, priests, doctors, writers, and businessmen would lack judgment, as would all the skilled workers on whose common sense industry relied. A management theory should further a general management education, starting within the family and including all levels of the school system. As already noted Fayol expected such a theory to emerge with time. But to develop a general management theory has proved more difficult than Fayol imagined. Instead, Fayol s management recommendations are all the more appreciated. How can Fayol s influence be appreciated? In his foreword to the English translation of Fayol s work, General and Industrial Management (1949), the British management consultant Lyndall Urwick lamented the fact that the French word administration had been translated into management. Although he found this to be a both accurate and convenient translation, Urwick pointed out that management may take on a number of meanings even, according to the Concise Oxford Dictionary, that of trickery, deceitful contrivance. A close association to these ideas, said Urwick, is unlikely to enhance the dignity either of the subject or of those who practice the activity (p. xiii). But Urwick was mistaken. Fayol s management recommendations have proved successful and highly durable. Management has become a subject in its own right, and is now independent of engineering or any other discipline. All over the world, universities and business schools teach management as a set of activities that apply to all kinds of organizations. This means that a Fayolist kind of management is not only a European concern, but has proved a true token of globalization. At the beginning of the 21 st century, more than students graduate each year from Master of Business Administration (MBA) programs in different parts of the world. This is more than three times the number of law degrees, and more than seven times the number of medical degrees (Navarro, 2005). An MBA-education is seen to provide business executives from all walks of life and in every layer of management with the most powerful arsenal of analytical weapons ever assembled to fight the corporate wars (Navarro, 2005, p. 3). Page 16

17 Volume 5, numéro 4 While an obvious objective of management education is to prepare students for a professional career in business, its highly general character is also praised. Says the Director of Admissions of one MBA-program (as if inspired by Fayol): What s so wonderful about the MBA is that it provides fundamental skills that you can use whenever and wherever you need them (Gilbert et al., 2004, p. 17). Fayol s notion of general management provides the raison d être for this education, for making managers into professionals and for an abundant management literature. To this day, management students learn the acronym POSDCORB planning, organizing, staffing, directing, coordinating, reporting and budgeting in order to remember what their job is about (Watson, 2001). Business school curricula remain stable, and Fayol s definition of management is still seen to comprise management (Fells, 2000; Harding, 2003; Smith & Boyns, 2005; Pfeffer & Sutton, 2006). Over the years, like Fayol, many asked for a management theory. Some were optimists like Fayol and expected that, with time, such a theory would be available. For example, in the mid 1950s, management expert Peter Drucker expressed an ambition very similar to that of Fayol when he hoped that twenty years from now, we shall be able to spell out basic principles, proven policies and tested techniques for the management of worker and work (Drucker, 1954/1986, p. 288). But no management theory emerged, and forty years later Drucker still found the question what to do to be the central challenge to managers (1994, p. 3). Perhaps the difficulties of developing a management theory relate to Fayol s notion of general management. Common sense tells us that successful organizations are, indeed must be, different. The present interest in branding supports this observation. It seems logical to presume that organizations that are different in important respects should also be managed differently. This, in effect, was what Frederick Winslow Taylor proposed. How did Fayol relate to Frederick Taylor? The preface to the 1949 English translation of Administration industrielle et générale makes evident that in the late 1940s it was a token of appreciation to compare Henri Fayol to Frederick Taylor. The two engineers both had considerable experience from large corporations and shared a keen interest in management. Both argued that their management recommendations were general recommendations in the sense that they applied to all kinds of organizations. But their approach to management was radically different. Where Fayol drew on the similarities between organizations, Taylor (1911/1998) emphasized their differences. The managers that Taylor envisaged were technical experts, who should support the workers and help them produce as much as possible, given the scientific knowledge of how work ought to be performed. Where Fayol took a top-down approach to management, Taylor s approach in contrast was bottom-up. As a consequence, Taylor did not advocate a general management education; any such proposition would go counter to his very perception of management. Fayol declared that he appreciated much of Taylor s work; his invention of highspeed steel (des aciers à coupe rapide), as well as his conscientious mode of studying and designing a variety of working conditions. In particular, Fayol liked Taylor s contention that managers of large departments need the support of a staff (un étatmajor). This was one of Fayol s favorite ideas, which he put forth with emphasis. (Suite page 18) Page 17

18 AEGIS le Libellio d (Suite de la page 17) But Fayol contested the matrix kind of organization that followed from the scientific management principles. Somewhat scornfully, Taylor described the notion that each employee should have only one boss as the military type of organization (type militaire d organisation). While Taylor insisted that this principle be non-functional, Fayol, in contrast, did not believe that any organization could function without it. Fayol questioned Taylor s contention that one employee might be managed by as many as eight managers. His objections seem relevant to this day. Matrix organizations may exist, but they are seldom appreciated. Like Fayol, and in spite of any possible military connotations, most organizations prefer the principle of one employee, one boss. Why is Fayol s impact not recognized? By now it seems obvious that Fayol s way of approaching management has made an unexceptional impact, which Taylor s approach does not in any way parallel. Yet Frederick Taylor is famous (or infamous), not only with those who study management, but also with the general public. Henri Fayol, in contrast, has been consigned to the rubbish bin of management history (Parker & Ritson, 2005, p. 1351). (One example: at the prestigious Uppsala Lectures in 2009 a well-known American professor referred to Fayol as that other guy what s his name again? ) Perhaps Fayol s management recommendations are too well known; so well known, in fact, that very few people reflect upon their origin. People treat Fayol s recommendations as something obvious. They see the planning, organizing, coordinating, controlling and commanding postulate as the natural starting point for describing management, much like a black box containing a fact (Latour, 1987). When asked about their work, managers tend to describe something orderly: If you ask a manager what he does, he will most likely tell you that he plans, organizes, co-ordinates and controls (Mintzberg, 1975, p. 49). Managerial work in practice may differ considerably from this description, but those who are not managers may still believe in it, as may managers at the beginning of their career. Linda Hill s (1992) study of how sales and marketing managers experienced their first year as managers illustrates this point nicely. Hill described how newly-appointed managers were taken by surprise as they realized how many diverse tasks, including people issues, they were to handle. Even though they had previously observed how managers within the company worked, they expected that their managerial work would be orderly. They would plan, organize, coordinate and control and command. This does not mean that Fayol s management recommendations are not disputed: they are. In fact, many studies of organizations invalidate Fayol s recommendations as a means to making organizations successful. As a consequence, there are many alternatives to traditional management, which either modify these recommendations, and propose for example the balanced scorecard, or propose what they see as radically different recommendations, and propose for example leadership (Holmblad Brunsson, 2007). But such propositions are framed so as to contend the orderly planning, organizing, coordinating, controlling, and commanding recommendations of Fayol. This is true even of the Swedish professor, who, having studied managerial practice, exclaimed: One cannot help wondering if, perhaps, all these intelligent, successful managers indulge in managerial work characterized by brevity, variety and Page 18

19 Volume 5, numéro 4 fragmentation because it is an efficient way of running a company! (Jönsson, 1996, p. 146). It seems doubtful that this professor had presented his observation as surprising, even something of a revelation, had he not been familiar with the orderly view of management as presented by Fayol. The professor questions traditional views on management, but at the same time he epitomizes the enormous impact of Fayol s way of thinking. Had Fayol not taken pains to document and reflect upon his managerial experience, the meaning of management might be radically different. Fayol did not just walk out of his office like other CEOs of his time (sans laisser ni doctrine ni disciples). He left behind management recommendations that still make up the bulk of management textbooks, and innumerable disciples. If somebody asks you about an influential Frenchman do not forget to mention Henri Fayol! References Drucker Peter F. (1954) The Practice of Management, New-York, Harper & Brothers Publishers. Drucker Peter F. (1994) The Theory of Business, In On the Profession of Management, Harvard, A Harvard Business Review Book. Fayol Henri (1916/1949) General and Industrial Management, London, Sir Isaac Pitman & Sons, Ltd. Fayol Henri (1916/1999) Aministration industrielle et générale, Paris, Dunod. Fells Michael J. (2000) Fayol stands the test of time, Journal of Management History, Vol. 6 (8), pp Gilbert N. & the Staff of the Princeton Review (2004) The Best 143 Business Schools, New- York, Random House, Inc. Göransson K. F. (1950) Förord [Introduction] In Industriell och allmän administration, Stockholm, Ljus. Harding Nancy (2003) The Social Construction of Management: Text and Identities, London, Routledge. Hill Linda A. (1992) Becoming a Manager, Mastery of a new identity, New-York, Penguin Books. Holmblad Brunsson Karin (2007) The Notion of General Management, Malmö, Liber/ Copenhagen Business School Press. Jönsson Sten (1996) Accounting for Improvement, Oxford, Pergamon Press. Latour Bruno (1987) Science in Action, How to follow scientists and engineers through society, Milton Keynes, Open University Press. Mintzberg Henry (1975) The manager s job: folklore and fact, Harvard Business Review, Vol. 53 (4), pp Navarro Peter (2005) What the Best MBAs Know, How to Apply the Greatest Ideas Taught in the Best Business Schools, (ed.) New-York, McGraw Hill. Parker Lee D. & Ritson Philip (2005) Fads, stereotypes and management gurus: Fayol and Follett today, Management Decision, Vol. 43(10), pp Pfeffer Jeffrey & Sutton Robert I. (2006) Hard Facts, Dangerous Half-Truths & Total Nonsense, Boston, Massachusetts, Harvard Business School Press. Smith Ian & Boyns Trevor (2005) British management theory and practice: the impact of Fayol, Management Decision, Vol. 43(10), pp (Suite page 20) Page 19

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